This class will examine the problem of memory by drawing on a blend of literature, art, and neuroscience in order to grapple with the question of how one selects, recounts, and handles moments of imperfect memory in the writing of memoir. Often, the stakes of these moments are high and various conflicting versions of a story exist. Did it really happen that way? Why do the witnesses disagree, and what does this mean for how I tell the story? At the heart of the issue is the question, “How does the memoirist acknowledge the flawed nature of memory while constructing a reliable narrative persona?”

We will discuss the difference, both in neurobiological terms and literary ones, between “objective truth” and “narrative truth,” and reveal ways in which the writer can help a reader (and is, indeed, obligated to) understand the difference between the two. Well-known scandals and shifting trends within the genre will be discussed, and participants will come away with a variety of best practices for handling reconstructed memories and the impacts of these moments on the larger course of a developing memoir.

TAKE THIS CLASS IF

You’re working in memoir or essay and are interested in how imperfect memories impact your contract to tell the truth.
You’re looking for practical tools to jog the memories you’re working from.
You’re interested in the mechanics of memory and the impact of trauma.
You’d like some concrete examples of how other writers have grappled with the issue of memory’s subjectivity and imperfection

The deadline to register for this class is Friday, April 12 at 5:00 PM CDT.